Académique Documents
Professionnel Documents
Culture Documents
978.283.2742 Facsimile
www.rockpub.com
ISBN-l3: 978-1-59253-261-2
ISBN-lO: 1-59253-261-6
10987654321
Cover and text design
Printed in China
2006019038
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Preface
Chapter 1
006
Graphic Desigu:
\Vbat It Is
Introduction
008
030
Seeing Form
and Space 032
Categories
of Form 042
Putting Stuff
Into Space 062
Compositional
Strategies 068
A Foundation
for Meaning 074
Chapter 2 080
Chapter 3 114
Chapter 4
Color
Pundamentals
Choosing and
VsingType
The World
of Image
Putting it
4U Together
The Identity
of Color 082
Structure
and Optics
Real, Unreal,
and Otherwise
Visual Logic
Chromatic
Interaction
Issues Related
to Style 124
Media and
Methods 172
Mechanics
of Text 132
Presentation
Options 184
Texture and
Space 146
Content and
Concept 188
092
Color Systems
104
Emotions and
Messages 110
116
Type as
Information
Chapter 5
164
166
196
198
Structuring
the Page 202
Intuitive
Arrangement
218
Integrating
Type and Image
226
Layout Systems
236
154
How Color
Changes Type
160
Appendix B 248
Contributors
Acknowledgments
Appendix A
246
270
272
c LSD Spain
D BBK Studio United States
E Muller United Kingdom
F Form United Kingdom
006
007
Rules can be
broken-but never
ignored.
008
009
DESIGN ELEMENTS
Dave a cODcept.
If there's no message, no story, no idea,
no narrative, or no useful experience to be
had, it's not graphic design. It doesn't
matter how amazing the thing is to look
at; without a clear message, it's an empty,
although beautiful, shell. That's about
as complicated as this rule can get. Let's
move on.
010
011
Commanicatedon't decorate.
Oooh ... Neat! But what exactly is it?
Somewhat related to Rule NO.1, this rule
is about how you support the all-important concept. Form carries meaning, no
matter how simple or abstract, and form
that's not right for a given message will
communicate messages that you don't
intend-including the message that you
don't know how to choose forms that are
meaningful for your audience or that you
don't care what's meaningful for them.
It's all well and good to experiment with
shapes and details and cool effects, but if
you simply spackle them all over without
considering what they mean and how they
support or take away from the message,
you end up with a jumbled mass of junk
that no longer qualifies as design.
DESIGN ELEMENTS
Speak with
one visaal voice.
012
013
1m
II
--- -
--
--
--
United States
DESIGN ELEMENTS
II
~--~-:----
--
-.-
014
015
Pick colors
onparpose.
Don't just grab some colors from out of
the air. Know what the colors will do when
you combine them and, more important,
what they might mean to the audience.
Color carries an abundance of psychological and emotional meaning, and this
meaning can vary tremendously between
cultural groups and even individuals.
Color affects visual hierarchy, the legibility
of type, and how people make connections
between disparate items-sometimes called
color coding-so choose wisely. Never
assume that a certain color, or a combination of colors, is right for a particular
job because of convention either. Blue
for financial services, for example, is the
standout color cliche of the past fifty
years. Choose colors that are right, not
those that are expected.
DE SIGN ELEMENTS
016
017
If you can
do it with less,
then do it.
British RedCross
When it comes to
firs "d rai ing
or he workplac
be sure you re in
safe hands.
A, ooe oIlne UK's IeItdng pIOYI<IoYs of
Negative
space
is magicalcreate it,
dOD'tjast
fiUit apt
DESIGN ELEMENTS
Both the style- bold, all uppercase, sans serif- and placement
as Image, as
though it's just
as important.
018
019
Type is only
type _hen it's
friendly.
Cobra Norway
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DESIGN ELEMENTS
020
021
Be uDiversal;
remember
that it's Dot
about you.
Sqaishaad
separate.
BOOKINGS 9250 7777
SYDNEYOPERAHOUSE .COM
TlCKmK 132849
TlCKETEK.COM-AU
Y COMPANY
-.
DESIGN ELEMENTS
022
023
Distribute light
and dark like
firecrackers and
the rising sun.
Be decisive.
Do it OD parposeor dOD't do it
at aU.
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Beasare
withyoar
eyes =desiga
is visaal.
024
025
Commissioning illustration
allows a designer to completely
customize the imagery for
a project. Plus, illustrationwhether conventional drawing
and painting or digital-need
not be bound by the laws
of nature.
Cyr Studio United States
..
No photography or illustration
available? Can't draw? No sweat.
A designer with a strong understanding of how abstract form
communicates- and what simple
means (here, drawing software
and a blur filter)- can transform
uncomplicated visual elements
into strikingly original and conceptually appropriate images.
Clemens Theobert Schedler
Austria
DESIGN ELEMENTS
Conservatoire
National
Superieur d'Art
Dramatique
Ignore fashion.
Seriously.
026
027
Coma Netherlands
.ove it!
Static:
equals duD.
People make a weird assumption about
two-dimensional visual stuff, and that isit's flat and lifeless! Go figure. This is why
painters and designers have been working
like dogs for 1,000 years to create the
illusion of three-dimensional movement
on a flat surface: to fool the viewer into
having a moving experience! If a layout
is clearly flat and fails to offer a sense of
movement or spatial interaction, a state
that is relatively easy to achieve, the
viewer's brain is likely to be uninterested
enough to hang out and see what the
message is. Static compositions say,
"You've figured me out ... so walk away,
nothing to see here."
DESIGN ELEMENTS
Look to
history,
bat don't
repeat it.
The design of the past has its place. It's
inspiring and important for a designer to
consider how communication strategies
and aesthetics have changed over time,
and to understand how his or her own
work fits into the continuum of thought
and practice. Even more useful is the realization that somewhere along the way,
.-
028
029
F.T. ilia
~
53'22' N 6'21' W
It's true that symmetry occurs in naturejust look at our bodies-but that doesn't
mean it's a good strategy for designing.
Symmetrical visual arrangements are
generally static and offer little movement
(see Rule No. 18). Worse, symmetrical
arrangements make integrating asymmetrical image material awkward, and limit a
designer's flexibility in pacing and dealing
with content that doesn't quite want to fit
into tlle symmetrical mold. Last, but certainly
not least: symmetry shouts very loudly
that the designer is lazy and likes to let the
format do the designing. The format has a
center axis, and clearly everyone can see
that. Why let the format tell you what to
do? You tell the format who's boss.
Symmetry is the
ultimate evil.
DESIGN ELEMENTS
Seeing Form
and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
030
031
Chapter 1
Katherine McCoy
Graphic designer and former director,
Cranbrook School of Design
DESIGN ELEMENTS
Seeing Form
and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
0 32
0 33
~~~-------'
Ar h 'lUI
the
potential of abstract form-or,
for that matter, the abstract
visual qualities of images such
as photographs. This form study
uses paper to investigate that
very idea in a highly abstract
way. What could this be? Who
cares? It's about curl in relation
to angle, negative space to positive strip. To understand how
form works, the form must first
be seen.
PEOPLE OFTEN OVERLOOK
landscape Ard'iUj
a die-cut in
this poster creates a surprising,
inventive message about structure and organic design. The
spiraling strip that carries green
type becomes a plant tendril
and a structural object in support of the poster's message.
The dimensional spiral, along
with its shadows, shares a linear
quality with the printed type,
but contrasts its horizontal and
diagonal flatness.
INVENTIVE USE OF
MICHAEL MALTZAH
V'
,. 1- I' IIlOl'gel
ediel'. I d'
d~
of this
annual report intensifies the
human element as well as the
vertical movement of flowers
upward; the sense of growth
is shown literally by the image,
but expressed viscerally by
the upward thrust olthe format.
Cobra Norway
Seeing Form
and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
034
HIJl TED
035
confrontational, creating an
upward and a downward thrust.
A horizontal format produces a
calmer, lateral movement that
is relatively inert compared to
that of a vertical format.
of
this book's format echoes the
horizon that is prevalent in the
photographs of the urban landscape that it documents. The
horizontal frame becomes the
camera eye, and it is relatively
restful and contemplative.
THE HORIZONTAL SHAPE
The Shape of Space Also called the "format," the proportional dimensions of the
space where form is going to do its thing
is something to think about. The size of
the format space, compared to the form
within it, will change the perceived presence of the form. A smaller form within
a larger spatial format-which will have a
relatively restrained presence-will be perceived differently from a large form in the
same format-which will be perceived as
confrontational. The perception of this
difference in presence is, intrinsically, a
message to be controlled. The shape of the
format is also an important consideration.
A square format is neutral; because all its
sides are of equal length, there's no thrust
or emphasis in anyone direction, and a
viewer will be able to concentrate on the
interaction of forms without having to pay
attention to the format at all. A vertical
format, however, is highly confrontational.
is an appropriately neutral-and
modular-format, considering
the subject matter, pioneering
Modernist architect Ludwig
Mies van der Rohe. The circular
CD-ROM obscures portions of
the image in the tray but also
adds its own layer.
Thomas Csano Canada
DESIGN ELEMENTS
negative
spaces contrast with the solidity
of the letterforms' strokes and
enhance the sharpness of the
narrow channels of space that
join them together.
DYNAMIC , ANGULAR
the two.
Apeloig Design France
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
036
037
VARIED CONTRASTS IN
Funftes Element
f-
DESIGN ELEMENTS
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
038
039
most
of the elements in this symbol
are linear-and appear to occupy
the same, flat spatial planethe small figures toward the
bottom appear to be in the foreground because one of them
connects to the negative space
outside the mark, and the line
contours around these figures
are heavier than those of the
larger, crowned figure.
DESPITE THE FACT THAT
Laminar
United Stotes
Bret!
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
040
041
refmed compositions create clear, accessible visual messages. Resolving and refining
a composition means understanding
what kind of message is being carried by
a given form, what it does in space, and
what effect the combination of these
aspects has on the viewer. _ First, some
more definitions. To say that a composition is "resolved" means that the reasons
for where everything is, how big the things
are, and what they're doing with each
other in and around space-the visual logicis clear, and that all the parts seem considered relative to each other. "Refined" is a
quirky term when used to describe form or
composition; in this context, it means that
the form or composition has been made to
be more like itself-more clearly, more simply, more indisputably communicating
one specific kind of quality. Like the term
DESIGN ELEMENTS
is
expanded into a clearly branded
graphic environment whose
wave-like forms allude to the
protective, organic, enveloping
quality of health care. The lines
created by the typography contrast the liquid plane forms,
but respond to their lateral
movement across the format.
Seeing
Form and Space
ideas related to financial investing, given context by the typography: graph-like organization,
growth, merging and separating,
networking, and so on.
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
042
043
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elements
in this brochure are dots; some
are more clearly dots, such as
the circular blobs and splotches,
and some are less so, such
as the letterforms and the little
logo at the top. Despite not
physically being dots, these elements exert the same kind of
focused or radiating quality that
dots do, and they react to each
other in space like dots. In terms
of a message, these dots are
about gesture, primal thumping,
and spontaneity ... and, more
concretely, about music.
Voice Australia
TI
. antos
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Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
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point of focused attention; the dot simultaneously contracts inward and radiates
outward. A dot anchors itself in any space
into which it is introduced and provides a
reference point for the eye relative to other
forms surrounding it, including other
dots, and its proximity to the edges of a
format's space. As seemingly simple a
form as it might appear, however, a dot is a
complex object, the fundamental building
block of all other forms. As a dot increases
in size to cover a larger area, and its outer
......
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Is each dot the same distance
from its counterparts? What is
their configuration, and what
outer shape does it make?
What does this shape signify?
financial information.
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
046
047
ill ,Iiii
....
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creates
a kind of undulating mass. The
outer contour of the cluster is very
active, with differing proximity
and tension to the format edges.
The initial "b" offers a complement to the cluster and contrast
in scale. The compositional logic
is clear and decisive.
TH E CLUSTER OF DOTS
H.... I..".... \I t,
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Categories
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Putting Stuff
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Compositional
Strategies
A Foundation
for Meaning
change
we ight (thickness) and get
close r and furt her apart, th ey
create rhythms. On this cover,
the rhyth m is more open and
ex pansive toward the bottom,
tightens or qUickens in the
middle, opens slightly, wavers,
and then tightens agai n. The
rhythm between lines is made
more complex by the color
change from black to hot pin k.
Note that the typography partici pates in th e com position;
there's a reason why des igners
refer to "lines" of type.
AS LINES IN SEQUENCE
048
049
UE A
HI Eel
with
minimal color difference form
a backdrop to a fluctuating
formation of wave -like lines;
stasis and activity contrast with
each other. The typography
picks up on this movement in
the flip of alignment from left
to right.
Ih uraday nights
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jason
r.
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Jun
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DESIGN ELEMENTS
II II I
White (negative) lines crossing
in front of (and behind) black
(positive) lines create increasingly
complex spatial relationships.
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
050
051
from
a concert program, lines of
different weights are used to
separate horizontal channels
of information. Varying the
weights of the lines, along
with the degree to which their
values contrast with the background, not only adds visual
interest but also enhances
the informational hierarchy.
ON THIS PAGE SPREAD
E-Types Denmark
II
I 1111
I I
rhythmic,
they can be used to create or
enhance meaning in images
or compositions. Here, the
idea of movement is imparted
to the abstract bird by the
progression of line weights
from "tail" end to front.
BECAUSE LINES ARE
..
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
ROTATING RECTANGULAR
create movement-and
mass as their densities build up
toward the bottom-and an
asymmetrical arrangement on
this media kit folder. The planes
in this case reflect a specific
shape in the brand mark as well
as refer to the idea of a screen.
PLANES
052
053
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printed on this
die-cut cover creates the sense
of two trapezoidal planes intersecting within an ambiguous
space in this brochure cover.
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
054
055
Al
A2
BI
B2
Arrangements of geometric
forms in geometric, or mathematical, spatial relationships
(AI and A2) are contrasted by
.
poster
are purely geometric. The lighting that is used to change their
color also affects their apparent
dimensionality; the blue areas
at the upper left sometimes
appear to be flat.
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Categories
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Putting Stuff
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Compositional
Strategies
A Foundation
for Meaning
..:'...'.'. .
056
057
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THE DRAWINGS AND TEXTURES
..
wave form
integrates with the curved, yet
geometric, letterform in this logo.
A CURLING, ORGANIC
LSD Spain
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A Foundation
for Meaning
060
061
a popular way
of engaging the paper stock in
the design of a printed piece.
Die-cut holes can reveal color
or surprise images, or they can
be used to orchestrate complex
pop-u ps that add dimensionality.
DIE-CUTS ARE
A e+G
B Voice
Australia
C, D Thomas
Csano Canada
o
B
subtle visual
activity and tactile quality to
this cover while colored stickers,
applied to the surface, introduce
random variation to the layout
of each copy, at the same time
alluding to the subject matter.
EMBOSSING ADDS
Mutabor Germany
breach of emptiness creates new spacethe areas surrounding the form. Each
element brought into the space adds
complexity but also decreases the literal
amount of space-even as it creates new
kinds of space, forcing it into distinct
shapes that fit around the forms like the
pieces of a puzzle. These spaces shouldn't
be considered "empty" or "leftover;" they
are integral to achieving flow around the
form elements, as well as a sense of order
and unity throughout the composition.
When the shapes, sizes, proportions,
and directional thrusts of these spaces
-------
..
udine
As soon as a form enters a given space, the
space is changed and structure appearssimple as this might be. There are now two
spaces created by the form's location in the
center of the format- each similar in quality,
shape, and volume.
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
poster
break the space decisivelymeaning that the proportions
of negative space have clear
relationships to each otherand the locations of elements
help to connect them optically
across those spaces. The accompanying diagram notes these
important aspects of the layout.
062
063
----------
....
-~
----------
can
be restrained yet still have a
visual richness to it. The placement of the type element and
the dotted line create four horizontal channels of space and
two vertical channels of space.
Seeing
Form and Space
Categories
of Form
-~
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
064
065
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Seeing
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Categories
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Compositional
Strategies
A Foundation
for Meaning
different
and always changing, and an
asymmetrical approach allows
a designer to be flexible, to
address the spatial needs of the
content, and to create visual
relationships between different
items based on their spatial
qualities. The horizon line in the
room, the vertical column, the
red headline, the text on the
page, and the smaller inset photograph all respond to each
other's sizes, color, and location;
the negative spaces around
them all talk to each other.
CONTENT IS ALWAYS
066
067
Twentoe cenIury
I.aPa<Ua
COII"osceHl Dorian
on:I1 'ccI16aI gems by F'ilIi<
Lloyd Wr9>1 Fnri< Gdvy oro Gtugory
&nee
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and
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ASYMMETRY IS INHERENTLY
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
068
069
wave area.
Monigle Associates United States
I
Q
in the
foreground shift left and right,
they create movement, but they
also create a separation of dead
horizontal spaces above and
below. The irregular contour of
the background letterforms,
however, breaks past the outer
lines of type, activating both the
upper and lower spaces.
AS THE LINES OF TYPE
pink
exclamation point-created by
the line and the letter K-is strong,
it is surrounded by relatively static
spaces of the same interval, value,
and color. This static quality is
broken by the brass ball, a dot,
which very decisively is not centered and activates the space
defined by the floor.
ALTHOUGH THE GIGANTIC
Mutabor Germany
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
fo r Meaning
070
071
.... --..
to bring out the best in people: the Japanese respond With happy
chatter and contented sighs. The smooth ftoors and walls of tile magnIfy the
din of spirited conversabon punctuated by splashes and the hlgh'Ptlched laugllt...
of ch,'dren. ThO sounds oC the batl1hou<e chan8t w,tl1lhO sMI,og <'/Ole of Ihe dally_
tlti,"nu"tel.ltJ~lyqudly wt"' nd4~ -'WIrt.CIr::I::n.
1b,. 1""
~-
.~ ~
._
.. -.-_ ..... ..-.- ., .... .,.....-. .. .... "...... ,....... ... .......... __ __
.. ,,- __ .. __ ... _,,_ .. .-..,, __ ...
-.-.
... ------,..-----_ ... .. - .... -_ .. ... -
__
"
-._~dotIo,.-_"
--.
... --
...
A BLACK LINE
people and
activity, these three photographic
ads rely on compositional contrast (OK, and a little mystery!)
to generate interest.
NEARLY DEVOID OF
is
tv assume
"ng
becoming set in
_<:....
in coli
of spont(lllMt
of the colored
type occurs at the lower third of
the format in this ad. The white
tag line, at the bottom, occurs
at the lower third of that third.
Seeing
Form and Space
Categories
of Form
create a
system of mathematical proportions on this brochure spread.
PATTERNED TEXTILES
Putting Stuff
Into Space
Voice Australia
Compositional
Strategies
A Foundation
for Meaning
072
073
the
photograph and colored field at
the right defines the righthand third, but the first two
thirds are a square, indicating
that the Golden Section might
be playing a role in defining
the proportions.
+.
,
,,
,,
,,
,,
------:---------..--...........
' ...............
\ '\
\
. .. ..
\
\\.,
,.
'~--------------------~-----------------
Oddly enough, dividing this new rectangular area by the width of its short
side creates a new square and rectangle in the same proportions as the
original square and rectangle. Dividing
each new rectangle in the same way
produces the same relationship over
and over again in decreasing size. By
connecting the corners of the squares
with circular arcs, the spiral that is
present in the formation of nautilus
shells is magically revealed.
Distance Isolation
Progressive Separation
Breaking out or leaving
Seeing
Form and Space
between forms to see how they are different and whether this is important. Forms
with similar shapes or sizes are linked
by the mind as being related; if one form
among a group is different, it must be
unrelated, and the mind takes note.
Reordering Disharmony
or disorder
...
Differentiated Shape
Specificity
....
Contour complexity
Aggression or complication
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
....
By differentiating elements
from others within an overall
grouping, a designer creates
a focus for consideration,
allOWing the viewer to identify
one set of elements and compare them to another.
074
075
Identity and Difference There are numerous strategies for creating comparisons
between groupings of form or among
parts within a group. The degree of difference between elements can be subtle or
dramatic, and the designer can imply
different degrees of meaning by isolating
one group or part more subtly, while
exaggerating the difference between others.
may be perceived as a message about isolation and may introduce anxiety; in the second instance, the change may be perceived
as an indication of growth, a change in
energy, or a focusing of strength.
bausauc
abacus
cabsauc
ucsabas
abucasb
suabcb
color
to distinguish the company
name from within a cluster of
letterforms (coincidentally
arranged in a grid pattern).
Within a grouping of varied
elements, any elements that
THIS LOGOTYPE USES
four
square dots creates a white
cross element from the negative
space between them, while
the differentiation of one dotas a punctuation elementevokes the idea of language
in this medical newsletter logo.
THE GROUPING OF
and
multidirectional type forms
create a kind of dance back and
forth across the format of this
theater poster. There are three
groupings of line elements:
the vertical logo band; the large,
three-dimensional season type,
and the three lines of smaller
informational type. Each is
differentiated from the other by
direction, foreground-background relationship, and planar
quality versus linear.
THE LINEAR, DIAGONAL,
- ",
;
t
""11.,." tt'tll
DESIGN ELEMENTS
LSD Spain
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
076
077
---
Architecture
Rage
Intimidation
Dissolution
Traffic
Unity
Ephemeral
Sensuous
Precision
Conflict
Technology
I
1
Effervescent
Monumental
Mapping
Protection
-.
, ,,
..... - ...
'.
'.
..
-;:.
~
;4"
'.
,
;;
.'.
.-.
.'
. .- .' .
~
Stormy
Evolution
Intuitive
Random
Winter
DESIGN ELEMENTS
'
of the
Euro character, as it crosses
the linear boundary created by
the horizontal stroke of the
character, seems to shoot into
the future.
C E N T E R
ann i versa r y
Seeing
Form and Space
Categories
of Form
Putting Stuff
Into Space
Compositional
Strategies
A Foundation
for Meaning
078
079
of lines
create vibration and the illusion
of three-dimensional planes
which may be interpreted as
printed surfaces, video texture,
and ideas related to transmission associated with communication design.
REPEATED PATTERNS
~~
tacomafoursquarechurch
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
080
081
Chapter 2
DESIGN ELEMENTS
yet
very different, communicative
roles in these two logotypes.
In the GEF logo, the dark blue
of the color field feels stable
and personable; the more vivid,
lighter blue field in the Utopia
logo is energetic and cool. The
color break in the GEF logo
creates a recognizable flag; in
the Utopia logo, the color break
enhances the moon-like quality
ofthe 0 form.
COLOR PLAYS IMPORTANT,
United States
B Raidy
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
082
083
exemplify
the different characteristics that
define a color's identity and
quality. The red poster is warm
N A
is
highly effective in enhancing
spatial relationships, as
well as creating relationships
between text and image. In
this brochure spread, the
warm golden type helps push
the type closer to the spatial
position o!the mantis, but
contrasts with the cool violet
tones of the beetle, helping it
to optically advance in space .
COLOR IN TYPOGRAPHY
--
..---_ ...--...........
--~
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
084
085
in this ad
changes in hue but generally
maintains similar value and
intensity. Since hue is tied
intrinsically to the perception
of temperature, that variable
also changes.
TERTIARY
" .m
EroI IlIT
r\I.I.
.'
SECONDARY
TERTIARY
.
'
TERTIARY
TERTIARY
iscAlert
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
086
087
8espa<lJ Op UW verzekeringen
13
14
23
Geef lijfrentetermijnen
aan uw kinderell
27
this
book cover is darker but less
saturated than the type, which
is lighter and more saturated
(intense or vibrant).
THE BACKGROUND OF
DESATURATED
colors, all of a
LSD Spain
-1. 11' 11
"'J J ~ (
f {Ie
that is
considered "good," this drawing
exhibits a great deal of value
change-a full range from deep
shadows, through a generous
number of middle tones, up
through a bright highlight or
white. However, the values are
not distributed evenly across
the format; they progress from
one side to another, and they
are concentrated in specific
places to create contrast.
LIKE A PHOTOGRAPH
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
088
089
"'_020""__
in this
brochure spread affects the
reading order, or hierarchy, of
the text. The darkest elements
read first because they have
the most value contrast with
the color of the background;
middle-value and lighter
elements read later because
they have less value contrast
against the background.
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
090
091
more
aggressive and alive, while cooler
colors seem more passive. In
the right context, this contrast
can convey a message that
negates energy and, therefore,
a sense of life. In this poster,
the 50S in yellow-orange seems
to call out urgently; the cooler
blue overlapping the yelloworange type quiets it down.
This simple change alludes to
flooding and, possibly, death.
WARMER COLORS SEEM
wavelength that distinguish blue from yellow from red-modified along two axes
that describe the color's darkness or lightness (its value) and its relative brilliance
(its saturation). Johannes Itten, a Bauhaus
master at Weimar, Germany, in the 1920S,
posited a color sphere-a three-dimensional
model that integrates the value scale of
Munsell's color wheel into a globe-in his
landmark book The Art of Color, published
a
we b/fi lm/vi d eo/pri nt
.Red
Red-Violet.
. ... Orange
Violet ..
Blue-Violet ...
The Identity
of Color
Chromatic
Interaction
".
'.
Color Systems
Yellow
Blue .'
yalue
Emotions and
Messages
092
..
. Yellow-Green
Blue-Green'
'"
Chroma
..
.'
: Green
093
Lightest
Desaturated,
or Neutral
Saturated,
or Intense
~--------------~
Darkest
is interesting
for its examination of relationships between warmer and cooler
colors as well as between analogous and complementary colors.
~~'Q3:iU'.".""""':'-
....................................................................................................... :
background
of this Web page is complementary
to the blue-violet inset images,
and is analogous to the two colors
wrapped around the central figure.
THE YELLOW-ORANGE
....
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
094
095
e
e e . e e . .. e
Analogous Colors adjacent
to each other on the color
wheel are said to be analogous.
Although noticeably different
from one another, the relationship becomes more about
temperature difference . Above,
for example, a viewer will note
a collection of green hues of
varying warmth.
COMPLEMENTARY COLORS
The Identity
of Color
Chromatic
Interaction
-.-.
Color Systems
Emotions and
Messages
096
097
other-regardless of saturation
or hue. As colors approach
each other in value, the ability
to distinguish their boundary is
diminished.
Progressive A sequence of
values among colors- in either
optically even steps or optically
geometric steps- is considered
progressive if the overall effect
letterform,
whose value is also lighter, is
less satu rated than the red
droplet, enhancing its vitality
and symbolic quality.
LSD Spain
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
Phil
Valentine
98
is
manipulated for this book cover.
The background yellow is
relatively intense, more so than
the medium gray of the title
type; the effect of extension
renders the type slightly bluish
or violet, the complement of
yellow. At the same time, the
red elements are intensified
through their analogous relationship-in hue and saturationwith the background.
THE IDEA OF EXTENSION
99
TAX
ca
I
REV LT
Extension juxtapositions of
two or more colors of similar
intensity, but in different volumes, create effects of simultaneous contrast and after-image.
Juxtaposing a small volume
of a desaturated color with a
large volume of an intensely
saturated color creates hueshifting; the intense volume
acts on the desaturated color
to skew it toward the intense
color's complement.
CREATIVE
COMPANY
INC.
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
100
101
Cobra Norwoy
Progressive An analogous
grouping in which temperature
makes a transition, color by
color, from cooler to warmer
or vice versa.
"
TEMPERATURE RELATIONSHIPS
tie together each page of this magazine spread (note the locations of
the warmer green elements) and
separate elements in the hierarchy.
AdamsMorioka United States
A CLOSE-IN PROGRESSION
mULTIPano
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
102
103
1Jp
II il
. .
~:::..
.::.::.\\.
-
"
, 1.... \ \
"1
~:;,~..
Nlu,"
II
.
-
.,!
the ground within a composition can further enhance the hierarchy. A form in one
color, set on a field of another color, will
join closely with it or separate aggressively,
depending on their color relationship.
If the colors of foreground and background
elements are related, the elements will
occupy a similar spatial depth. If they are
complementary in nature, the two will
occupy very different spatial depths.
;.~
'l...
__
IiIIIIII
~~:~'
_._
...........---.........
........
............. --.--_ ....
--_-_
_ _------
.... - ......
.------_
........
............ _--1 - . 1 - "" _ _ .. ...
~-..-
.........
---"",_
_" - 4 " ' _
Vidt
ltid town
~.e:n.a.
Where
The Identity
of Color
_ ""0.--."'
...
-_
. _fOj-_..............
-- ......................-.........
............ -
--..-..,
................ tw _ _ .. _
. . . ... _ _ "' .... _
.... t...
Chromatic
Interaction
-........I'"'-...... _~......
. _ ...
I~
.........-.-,...
Color Systems
Emotions and
Messages
--_ _ . .....
,_
.. ..........
--,......,...
_____
._,._.-IW
104
105
.,100_
_ _ ",...__
--...- .... _...
......,...-_.""................
..
-~
__
PHILIPB
PH]
,tt,
floC.(
HILIPB
: 1991
PHILIPB
PHIUpB,
PHILIPB
SIIIC! ,,,.
43
The Identity
of Color
an identity
manual shows how colors from
the supporting color palette can
be combined with the primary
corporate color in the system,
the medium-value blue. The
supporting colors are strictly
controlled for their value and
intensity relationships so that
the corporate blue is always
the deepest and most intense.
THIS PAGE FROM
Chromatic
Interaction
Color Systems
Emotions and
Messages
106
107
GROUPINGS OF ANALOGOUS
Strict Complement
Near Complement
Cool
Near Complement
Worm
.. ........... ...............
The Identity
of Color
............................
Chromatic
Interaction
Split Complement
Analogous
Some Saturation
Analogous
Different Saturation
Analogous
Temperature Shift
Strict Complement
Same Value
Saturation Shift
Near Complement
Different Value
Same Saturation
Color Systems
Emotions and
Messages
108
109
{,,t."~
.J
(" OU
:i.
~<{~
a a
a a
a
Be careful when tinting a color
that is being used for type,
especially if it's relatively light
to begin with. Getting a printer
to ru n a press proof to test the
effect of tinting on type and
images will be an additional
cost, but in the end it's worth it
to see exactly what's going to
happen in the actual press run.
Color Halftone Also called a
monotone, an image printed
using a single ink color is called
a color halftone. The top image
is printed directly on a white
field; in the bottom image, the
color halftone is shown crossing over a supporting color,
which changes the appearance
of the halftone's color.
FRE
By using image-manipulation
software, the amount of a given
ink color applied to specific
tonal ranges in an image can
be adjusted. In this example,
the two colors used in the
duotone are distributed differently. In the top image, color 1
has been pushed toward the
shadow range; in the bottom
image, color 1 has been pushed
toward the highlight range
CHCOUNTRY
not
only unifies the components in
this literature system, it allows
the deSigner to diferentiate different product offerings and still
reinforce the core identity of
the brand. The signature (logo)
retains its color identity, and
the components all seem intrinsically related to it, as well as
to each other.
A THREE-COLOR PALETTE
m1>01)~
of red
ink on top of found, make-ready
sheets means budget-conscious
production with interesting
visual effects in this detail of a
poster. The ink's transparency
allows a haze of the surprinted
image to show through.
SURPRINTING A FIELD
tern-warmer colors, such as red and yellows, have long wavelengths, and so more
energy is needed to process them as they
enter the eye and brain. The accompanying rise in energy level and metabolic rate
translates as arousal. Conversely, the
shorter wavelengths of cooler colors-such
as blue, green, and violet-require far less
energy to process, resulting in the slowing
appears in a field
of friendly, dynamic orange.
THE ROOSTER
The Identity
of Color
Chromatic
Interaction
Color Systems
Emotions and
Messages
110
111
and strength
of brown protect the growing
green plant.
THE RELIABILITY
IN WESTERN CULTURE,
The Identity
of Color
Chromatic
Interaction
-,
Color Systems
Emotions and
Messages
112
113
associated
strictly with femininity. This
book uses that color to evoke
the time period in which that
idea was prevalent.
GRAND
Typography
is what language
1001(s like.
Ellen Lupton
Graphic designer and director
ofthe MFA program in design at
Maryland State University
...............................
Structure
and Optics
.....................................
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
114
115
Chapter 3
2005
DESIGN ELEMENTS
Main Strclke\
or Stem
I Wo,,jdo
Serif
Tittle
Serif
Ea
Ascender
Joint
~:-----~ ,,-----------------
Descender
Descender
,-_ .. _----------------------------------------------,--~,-------~
ick Stroke or Thick
Joint
Bracket-
Thin Stroke or
Structure
and Optics
Crossbar
Terminal
-------------------------------- 1 ---------------------------------------'o-~~,
1""""......,,- .. ------------------
Issues Related
to Style
Story
Mechanics
of Text
_.___.._, ____
~, --_,- l ----
Texture and
Space
_______________ _
Leg
Crossbar
. -----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Type as
Information
Line
Shoulder
Shou
Beak
~~~~--------------. ---------------1
-------------------1-- ------------------------------,---,---~;,.---"" '.---,----------- ..---------------1-------------------------------------------
How Color
Changes Type
--------
Branch
116
117
Vertex
Descender
tDe;::'LUi~ne;_- -- ..---- ----- ------- -------- ----- -- --- ----- ----- -- --.::'. --~,..~--,"---
Body
Crosst,arl
ITp,min,I Serij
X-Height
Cap-Height
uuu
uuu
-----
of
detail is apparent in these letterform studies for a custom,
corporate typeface. Note the
comparisons of crossbars, letter
widths, and terminal shapes.
THE INTERRELATIONSHIP
E-Types Denmark
p
mr
nr
loose letter
spacing makes a more distinct
rhythm, improves the legibility
of the all-uppercase setting, and
obviates spacing problems that
might have occurred among
certain letter combinations (for
example, X and P) if they had
been spaced normally.
IN T HI S LO GOTYP E,
United States
words
words
MATHEMATICAL SPACING
words
words
Structure
and Optics
Issues Related
to Style
words words
words
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
11 8
119
LIQUID
LIQUID
Always evaluate the spacing
needs of a type component on
a case-by-case basis. Some
letters in a particular word are
going to cause unresolvable
problems, either because of
their dramatic asymmetry, deep
counters, or overall density.
When presented with a word
(or phrase of reasonable length),
take time to correct the spacing throughout based on this
TYPOGRAPHY
The art of designing with
words and letters
TYPOGRAPHY
The art of designing with
words and letters
Uppercase letters are more
uniform in width and shape
than lowercase letters, as well
as optically more dense; to
Added to this phenomenon are the directional thrusts of different strokes and the
varied sizes and shapes of the counterforms.
Some are very open, some are closed, and
some are decidedly uneven in relation to
the distribution of strokes in a given letter.
To correct for these disparities, digital
typefaces are programmed to add and
subtract space from between different
pairs ofletters, depending on what the
combinations are. These sets of letters,
called "kerning pairs," provide for most
To
To
Ty
Ty
Tr
Tr
We We
Wo WO
mA:-
Ae Ae
AR7
Pe
OF
Pe
=-==--7-==-=P E
._.....
->
. -.. IIIUU
n.,
........ IlUU.'_:
the
spacing of the title text, the
deSigner is able to merge two
separate thoughts-a speaker's
name and a lecture title-into
one structure.
BY PURPOSELY ALTERING
-Trips
~I ~S _~rl
DS
-
72
60
48
14
36
30
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
M
M
18
14
12
10
Type as
Information
How Color
Changes Type
121
Texture and
Space
120
24
72
60
M
M
M
M
48
36
30
24
18
14
12
10
on this
brochure spread needs to be set
a little tighter than normal to
account for the apparent size of
the counters as it increases in
point size; the tighter spacing
compensates for the spread of
ink that will very, very slightly
decrease the thickness of the
reversed white strokes. The
smaller caption type, however,
has been set more loosely.
..
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
122
Aa BbCc Dd
Ee Ff Gg Hh
Jj LI Mm Nn
OoPpOqRr
Ss Uu XxYy
LI G HT
R EGU L A R
R EGU L A R
BOLD
UNIFORM
CONTRAST
CONTRAST
EXTREME
CONTRAST
MO D ULA TI ON
123
strokes, relative to the height of the uppercase, might change. Light, regular, bold,
and black weights-increasing in stroke
thickness-for a single type style define
a type family. Variation in weight helps to
add visual contrast as well as to distinguish between informational components
within a hierarchy.
,,wuW,......
fllof-~ ....................
.-W" .....,
( - ..1
A MIXTURE OF CLASSICAL,
_____________
~ A_._ _ _ _ _ _ _
C O NDEN $ E D
ME DI UM ,:
_A.a_ Aa__AaAa_ _
_Aa_Aa_ AA_A_
R OM A N
I TA LI C
:
,
!
!,
REVERSE OB LI QUE
Width The proportional width of the letters in a typeface is based on the width of
the uppercase M. Faces that are narrower
are said to be condensed, while wider ones
are said to be extended or expanded.
NE UT RA L
STY LI ZED
Detail of
serif shape
Oldstyle x-height
for comparison with
later typefaces
Leg and joint
shapes
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
124
125
is a modern sans-serif face sharing characteristics associated with oldstyle serif types:
contrast in the stroke weights, modulation
of weight within major strokes, an oblique
axis, and a bowl-formed lowercase g.
A number of systems for classifying type
have been developed during the past
several decades. Today, as then, these
classifications often change-but a few
basic categories remain constant.
BLA K
Graphic These typefaces are the experimental, decorative, children of the display
types. Their visual qualities are expressive
but not conducive to reading in a long text.
This category includes specimens such
as script faces, fancy and complex faces
inspired by handwriting, and idiosyncratic
faces that are illustrative or conceptual.
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
126
127
...
.0 .
1
1 ",::,
.0'
0-
.... .....
..... : ......
-.
..
... '
.. .......
.......
.....
.. .. ..
. ..
-0,
_0,
.....
..........
00"0
0
..
..
....
..
..
. .. ..
'0
........ ..... n.
..
......
....... ......... .
.. ..... '"
MAQuillAGE
gef
pedrlsoft
I. I!'
Antibiotice
Sdtnceand~
.......
Bowls, Shoulders, Apertures, and Eyes The characteristics of these details vary tremendously among typefaces.
Bowls-the lower part of the large circular forms 0, Q, D, G,
and so on- and shoulders-the upper part of such curves,
as well as the upper curves on forms such as the uppercase
R, the lowercase P, F, and G- might be rounder or more
elliptical, fluid, or somewhat squared-off. Looking closely
at these forms within a single typeface will reveal some
variation as well, optical compensations the designer has
made in response to how they join with other strokes.
But they will share a basic logic in their curves that will be
very different compared to another typeface, even within
the same class or style. The axis of the curved forms changes
also, being slanted in older styles and completely upright
in more modern ones. Apertures, the entry into the counters
of letters such as the lowercase E and A, for example, may
be tight or more open. Small, closed -off counters, called
"eyes," appearing in letters such as the lowercase E and G,
also vary considerably in shape and proportion in relation
to the lower counters of these letters among typefaces.
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
128
129
.. .. ..
..
.... ..
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INTEGRINE
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MISSION
HOPE
A Grapefruit Romania
BC. Harvey Graphic Design
United States
C I Just Might United States
D19awa Design United States
E Raidy Printing Group Lebanon
F Michelle Pinkston Iowa State
University) United States
DESIGN ELEMENTS
Structure
and Optics
,~ach
incidenc BbAaOoSs
~ach
incidenc BbAaOoSs
Issues Related
to Style
Mechanics
of Text
Texture and
Space
dynamic
dynamic
dynamic
Type as
Information
dynamic
dynamic
dynamic
How Color
Changes Type
dynamic
dynamic
~~~~mi~
dynamic
dynamic
dynamic
130
131
FaLl On~.!" MA
IS 10 nANIS uo 5CMOLAI5HIPS
ruma" AT
"'VAl(
the text in
this brochure is set in a sans
serif face with a uniform stroke
weight and mostly all uppercase. The result is austere and
direct, but the addition of the
italic serif face adds some
warmth and contrast to the
sans serif face's regularity.
THE MAJORITY OF
-_
---_
---... ..
-_.
-_...
----~
---Fact Two:no
---AI PlnYAH
----------.
---..
---_
---
from a
brochure, the designer uses
larger type in the vertical column
but smaller type in the wide
paragraph at the left; in both
cases the leading remains constant. This causes the vertical
column to read more quickly
(having optimal qualities of
character count and spacing),
which increases its vertical pull
in the format. The smaller type
at the left reads more slowly
because the line length of the
paragraph is far wider than optimal, and the leading appears
greater between the lines; the
slower, horizontal emphasis of
this text is a visual contrast to
the vertical column.
IN THIS PAGE SPREAD
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
132
133
9 POINTS
: 50
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.
: 50
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: 50
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Lorem~1
consectlt
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of
the column widths for the running text in this page spread is
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THE OPTIMAL QUALITY
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A comparison of character
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set on the same paragraph
width . As with all typographic
Loremit
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DESIGN ELEMENTS
Alignment structures Text excerpted from The Elements ofTypographic Style by Robert Bringhurst
FLUSH-LEFT/ RAGGED RIGHT
CENTERED AXIS
JUSTIFIED
Structure
and Optics
Issues Related
to Style
'1'111,:
Mechanics
of Text
Texture and
Space
( II.\I 'nm
\ I
Type as
Information
How Color
Changes Type
134
135
columns
of text in this asymmetrical layout
reinforce the geometry of the
page. Weight changes within
the text add contrast, and the
spacing is consistent.
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uses
wide margins to create focus on
the text block. The internal
spacing of the text is relatively
consistent.
EVERY DAY IS
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Think of the blank page
as alpine meadow, or as
the purity of undifferen
tiated being. The typographer enters this space
and must change it. The
reader will enterit later,
to see what the typographerhas done there . The
underlying truth of the
blank page must be
infringed, but it must
never altogether disappear.
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I
Think of the blank page as alpine meadow, or as
the purity of undifferentiated being.
The typographer enters this space and mus t
change it. The reader will enter it later, to
see what the typographer has done.
The underlying truth of the blank page must be
infringed, but it must neve r al together
disappear-and whatever displaces it might
well aim to be as lively and peaceful as it is. It
is not enough, when building a title page,
merely to unload some big, prefabricated
letters into the center of the space, nor to dig
a few holes in the silence with typographic
heavy machinery and move on. Big type, even
huge type, can be beau tiful and useful.
I
Example of a paragraph showing a desirable rag (left), and
two paragraphs whose rags are
fraught with problems:
..:
--
.:
.
:
::
::
Structure
and Optics
Issues Related
to Style
r as tJ1e pu ~ ty of ~ndif~renti~ted :
:
being~The t~ographer e?ters t?is sPafe an~
must ~hangc!it. TM reada will <!nter i ~
:
: I
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:
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.
:
lpin ~mead~w,
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is due the rag of both the exterior edge formed by the long
lines and the interior edge
formed by the short lines.
Mechanics
of Text
Te xture and
Space
Type as
Information
CSItGi'-",......
__
... _ _ ___ .....
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How Color
Changes Type
136
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sp~ce
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Mechanics
of Text
Texture and
Space
Type as
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How Color
Changes Type
...........
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TIle Switch
.u.
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139
des,..
THE SWITCH
ON ..,mint......
~ II..M w'a.lhoint
tho Ill... bo< _ _ ..-... Iie<...-. ....
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day at
01_ .....-1lRot
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CuIo8l. "' lhr,....,. of J.'tIW, da:Wd .... lid ao IitUo the dUJltoot.. ~firr
.II
L...u.llhr duUlltllO. IUIf'ftIt 100ftnl!
the ...,. Cadal..
....rti.. ,. ......
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"bowd:,,~CMf,
N . . , , . . - .....
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oil b<t d..
it pllialll" . -b.d r........lIy _
,tb of. Jntatdolt!llt.tpr.. herMOn~ u.... her fintm
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mb(.ln_d 111 tt..~Q/1hcn1'M:'1f'''''''.''''''''''''':I'''
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138
H:JlIMS 3M.l
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to Style
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--_-
.1too4 .... ~
............. ....
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_L... ........... . .
kiln wvrtJ.. ,)xft- "'" wvuId M"W IPT mr firm bcalilX it', P'ft'Y'
mudl her wboie lire. Cuioru dral'nfd of
ftlmllt'lt.ftIII 8emwa
~ sin lIht "'-'11 ptt-law ~I no.acL"I'bou'! !No 5mr. bindnlldt
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set on
different widths are also set in
three different sizes to achieve
as near to optimal relationship
between type size and column
width as possible-approximately
30 characters per line for short
bursts of reading, so to 70 characters for extended reading.
The wide, primary text column
is likely too wide to be optimal,
but the designer has increased
the leading, relative to the point
size, to make it more comfortable.
THREE STYLES OF TEXT
Think of the blank page as alpine meadow, or as the purity of undifferentiated being. The typographer enters this space and must change it. The reader
will enter it later, to see what the typographer has done. The underlying
truth of the blank page must be infringed, but it must never altogether disappear-and whatever displaces it might well aim to be as lively and peaceful as it
is. It is not enough, when building a title page, merely to unload some big,
prefabricated letters into the center of the space, nor to dig a few holes in the
silence with typographic heavy machinery and move on. Big type, even huge
type, can be beautiful and useful.
r-Think of the blank page as alpine meadow, or as the purity of undifferentiated being. The typographer enters this space and must change
it. The reader will enter it later, to see what the typographer has
done. The underlying truth of the blank page must be infringed, but it
must never altogether disappear-and whatever displaces it might
well aim to be as lively and peaceful as it is. It is not enough, when
building a title page, merely to unload some big, prefabricated letters into the center of the space, nor to dig a few holes in the silence
with typographic heavy machinery and move on. Big type, even huge
type, can be beautiful and useful.
I--
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Te xture and
Space
Type as
Information
How Color
Changes Type
140
141
each
paragraph, in addition to a
proportional return, is
indicated by a bold lead line.
THE BEGINNING OF
\
...."' ............""
as alpl
or as the purity of undifferentiated
The typographer enters this space a
change it. The reader will enter it la
see what the typographer has done.
underlying truth of the blank page
infringed, but it must never altoge
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a slight
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this layout.
BOLD SUBHEADS WITH
--
II
Hey!1I Dad's
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
I
142
143
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135.36
10,336 .00
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'SIfIt.,~GI\WnA
THE DESIGNER OF
data
in this spread from a financial
report have been carefully and
clearly styled to impart a sense
of credibility and attention to
detail, appropriate to the sober,
accurate nature of the material.
Clear hanging indents, comfortable spacing for figures, and
easily distinguished alignments
all contribute to the report's
exquisite craftsmanship.
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144
145
lDI
dier.""'sed~
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ptua. At vcro
ea rebum. Sa
abo """"'" .,
ipsumdolon
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re et dolort n
duo dolores C!:
no aea takim
amet. l.oIml
. adipsciDg el
ittviduntut b'
in-depth look
beware-it is the
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ranges offigures or
durations in tim e
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Em-Dash Separates
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evolutionary phrases
within text.
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There are three horizontal punctuation lines-the hyphen, the en dash, and the em dash.
Use the correct one for its intended function, and adjust
the spaces around them so that they flow optically within
text. Afull word space on either side is too much, although
there are times when this might be appropriate. The
default lengths and baseline orientation of each mark
might need to be altered to improve their relationship
to surrounding text; the hyphen often sits low, and the
em dash is sometimes too long.
KNOW YOUR DASHES.
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In justified setting,
adjusting the letter spacing to avoid rivers is inevitable,
but don't adjust too much. Like rivers, overly tightand therefore very dark-lines of text are distracting.
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In setting text in
which paragraphs run together, separated by indenting
the first line, the first paragraph on the page should
have no indent. Every paragraph thereafter is then
indented-until the next major sequential break or subheaded paragraph, which should not be indented.
:
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iD.~tkl.~talCvdU~ti
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words or breaks th em
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100-200 pages
6:00-9:00pm
i_
Hyphen Combines
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I II
MAY 28
9TO 11 PM
""z
W
PRAVDA
2 J E 34TH
>
r::c
>1- ~
1-1.1.1 ct
(.)
S5 COVER
...J
CI.. (I)
-- -=---- =------
T H
OF
TYP
Marshal Mcluhan The Medium is the Massage
Marshal McLuhan
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
A L
L-_~ ~
~IC:rORIAL.
Texture and
Space
Type as
Information
How Color
Changes Type
-...........
... -..--".
...... '---_ .... ...........
...- ... - ....... -......-..
-.........
_
....
.........
....
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....
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.. _ _ _ _ _ _ _ fit
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1:11 ... _
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bl
146
147
"'~
...
...
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.
=-..:::::.==
. -. ..
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...
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..,_
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~
_
..................
.-......,-u,._,,_
._-.---.........
....--.,...... -_ ....
... N....
.......... IM~. . . . _
in this
page spread participates in
visually resolving the composition and activating space.
The size of the dot-like chart
weights it in relation to the
texture of the column and the
vertical motion of the large,
rotated headline; the rhythm
of positive and negative from
left to right uses repetitions
of specific intervals; and the
type elements have a decisive
up-and-down motion relative
to each other.
EVERY TYPE ELEMENT
-.....
Cobra Norwoy
ALTHOUGH ALL OF
Voice Australia
OIlE
OIiE
SIMPLY SIGN UP TO ADD YOUR VOICE TO SUPPORT
THE ONE CAMPAIGN DECLARATION. YOU WILL JOIN
THE GROWING NUMBER OF AMERICANS WHO ARE
GETTING INVOLVED ONLINE AND IN COMMUNITIES
ACROSS THE COUNTRY.
"
.._-
'I .
" "
,'I
..
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j
III
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"trail
e
rrib
e ,.
0
r produce
~l
o b ,. a
elemellto
011 retos
deJmundo COn
11
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
un
" ~I~r~ltnda elegante
-- lenguaje
.. a veces
, .
III I
s J
III f
laCrlptlCO,
excel a
figura
human
a
Type as
Information
How Color
Changes Type
this foldout
brochure use dramatic change in
scale, spacing, and paragraph
width to increase the textural
activity of the type elements
and their rhythmic up-and-down
movement. The linearity and
textural qualities of the text are
a stark contrast to the giant
image dots.
THE DESIGNERS OF
148
149
LSD Spain
nne - looking at it u
an alwrnaU". reallty II
80mefulng very dIftIoult
for him because he I.!o
Greek Orthodox a.nd my
dllterent way.
Letterspacing
Text Width
Jakarta
2 0 0 7
Indonesia
POST
75
Jakarta
2
Indonesia
POST
75
Ja ka rta
2 0
0 7
Indonesia
POST75
o
Ja ka rta
2 0
0 7
c
Nam liber tempor cum sol uta n
bisar eleifend option congue nih
COMPRESSION
COMPRESSION
COMPRESSION
::OMPRESSIO~
____________________
~
c
POST
SSlJAI
-AI"
~"fI
VUlY
_ ___
con~
COM
PRE S
ION
A Extremely tight spacing, and
the resulting overlap of strokes,
creates pronounced dark spots;
the individuality of the letters is
compromised in favor of overall
linearity and mass.
B In normal spacing, the linearity
of the word dominates the indiViduality of the letters, but the
alternation of stroke and cou nter
is more regular.
c
Lorem ipusum dolor
sit arnet, consctetur
sadipsdng eHlar, sed
diam nonum einno
d ternpor invidunt ut
labore et dolore mag
na aliquyarn erat, se
diam volup tua. Vera
eos et accusam et jus
to duo dolores et ea
rebum. Stet clita kasd
gubergren, no sea la
im ala sanctus. LOTem
ipsurn dolor sit arnet.
Hera n quickly.
I~~t ~~ ~B ~o~l~
Our time
crossing
old categories-
Structure
and Optics
Texture and
Space
put in apposition
in new and unique ways ...
startling discoveries
Issues Related
to Style
Mechanics
of Text
sta rtl in 9
discoveries
often result.
parts through changes in
weight, posture, width, and
spacing produces a rhythmic
journey-slowing down,
speeding up-for the reader.
Type as
Information
A
How Color
Changes Type
150
151
~ airport
...,~~~ ~
~~ 6
...............
crossl ng barriers,
for erasl ng old categoriesfor probing around.
for
st artlin g
discove ri es
often res ult.
quality of
a text-its assumed volume and
cadence changes-is a great
source for typographic style.
In this example, weight and size
change reflect changes in volume
and emphasis in the text.
the meaning
of words are often connected;
in these examples, sound and
meaning are linked through
TH E SOUND AND
visual expression.
I
=,
positive
and negative drives the dynamic
composition of type and image
in this brochure spread. The
type breaks the space into
decisively different intervals; in
addition, the shifting negative
spaces and the rotation of some
type elements restate the structural qualities of the photograph.
THE INTERACTION OF
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
]BesignElements
pesignElement4
.. iDesign Element~ ....... .
..
: Understanding the ;
: rules and knowing :
152
153
: Timothy Samara
: Rockport Publisher~
. .. .. .. . ~ . GJou<:ester" MA .. ,; .. .. , ...
..................
t ...
:Understanding the :
:rules and knowing :
:whe n to break them
:Timothy Samara :
.
In this raw composition, the
elements are clustered together
in a passive relationship with
the format. No relationship
exists between type and space
nor, indeed, among the informational components-except
an arbitrary sequence.
..
...
:Color
!ype
:
~ mage
... .. . . ..... .. ~....... .. 3,.ayo.ut
..
...
..
CI)
CI)
E:
M
""
""'"
'"
""
~
'""'-
-'"
'"
'"
._-_._.........
--- .._
_.
._-_ .. ."...
----~~~-~.-.....~-----.
-...--..........
~.-----_.......... __. .
-----~~-~
.-~-~--.-
.....
----....-.. --.. -
__
__
----__
-~-"
-=c
-=='-'--
'-
---'.'--'=,:'=~--
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-=__--_.
.._--- - -
---
:.
---_---..-.-----.,._.-...-............
_.- __-....- . ".......
_,-.--- --- .
..
with
alignment and layering in this
page spread; two paragraphs,
aligned differently along the
center axis of a tall column,
appear to occupy an ambiguous,
transparent space.
Earsay IW.W.Norton
United States
letter strokes
in the gigantic title are used as
alignment points for text and
for intrusions of geometric negative space into the column;
this spatial area is activated by
the large red callout.
TH E EDGES OF
of information
are indicated by large-scale
headlines; distinctions between
subcomponents are established
by a change in weight and size,
with bolder elements reading
first. The top of the hierarchy,
however, is defined by the
vivid pink letterhead and asterisk, focusing attention on the
MAJOR SECTIONS
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
TIll GIOIG .UNTS PlOH . . . . .. DAL
Type as
Information
How Color
Changes Type
INdt
~onlMe.rd ........ ~
....... wo
1m
lIi.1t
IS4
ISS
lhoM to be hctMwed It. aeIec:t..s t, 00fftf'niIMI of tht......,.., ec...
01 o..car n~tI't h
......
the heavy
black field and reversed-out
title on the right upsets our
usual expectation of reading
order, but the hierarchy is
unquestionable nonetheless.
WMrrwct.MIft , . . . . . . . . . .
"'''-"
THE PLACEMENT OF
InCIIM bIcutNe
~.
221 ......
OI\W\ectI
~ ~ 1IOncn ...
most important
somewhat
important much
Change in Weight
Change in Size
12000
less important
most important
Change in Alignment
Change in Rhythm
Change in Spacing
Change in Orientation
or maybe this?
_-:..:a.- .-
~ .-a~
..........:a ...
- _............
.......
_
Idro . . .
Structure
and Optics
of
the two text columns clearly
is, their hierarchy is visually
ambiguous. The larger, bright
green text seems to advance
because of its intensity, but it
is obviously behind the darker
blue text. At the same time,
the blue text also appears
more solid, drawing the viewer's
attention, but its smaller size
causes it to recede. Despite the
strength of this darker blue text,
the green paragraph wins out
in the hierarchy because of its
positioning at the natural,upperleft entry-point for reading.
AS DIFFERENT AS EACH
......................
.....
---_
Issues Related
to Style
',......"...
0....................
..... .,.........., ...
-_~
Mechanics
of Text
.. ,
. . . . . . . .h_ ......
Texture and
Space
Type as
Information
How Color
Changes Type
156
isa ng VI.In
15 7
(1917 - 1995)
iSllng Ytl n
( 1 9 17 ~ I99S1
-4 1' 58
41 ' &8"
n ~ u i d ang.
nilu i m injokiyo l
my land,
m y ptlo ple !
for w le isls,
chorus and
o n,:he$va
(1987 )
DT 42"
14'
3
26 ~
06' 17"
13' 26'
rjoksa
(histo ry )
hvon shil l
Ipresenc\'! I)
hyo n-sIlil II
(presem;e II )
c h OrlJS
iln ti ..tate
sym phor'\y
orC hest ra
of th e d emocratic
pe oples republic
01 ko re8
cond ucted by
byung -hwa ki m
, po
9990472
mi-ra ll
Ifutun:1
nau i dang,
naui m i niokiyo l
m y land ,
my peo ple l
fo r solo ists.
choru s and
orChestra
i&ang y un
11 917 - 1995)
aT
42~
14 ' 21)"
()6'
13' 26"
Ir
rio ksa
(h istory)
l"Iyo n-shil l
(prese nce I)
hyorl-shilll
(presence II)
m l-r ae
(fulm el
my ung sil ki m
sop nmo
you n,,-o~ ki m
alto
sun -ehai pak
t enor
yon g-y in han
bass
cho rus and state
sym phony o rc he&tra
of the demoerlltle
()eopl es republic
of korea
eonducted by
byun g--hw(I kim
sun-.chlli pak
t eno r
11987)
'PO
999 047 -2
1 fjokse (history )
2 hycn-shi l r (jlreSMce II
J
4" 58 w
or
spaces
between columns with similar
proportions, and between informational components within
columns-as well as changing
vertical positioning-keeps
positive and negative areas proportionally unified but easily
distingUishable from each other.
DIFFERENTIATING
42-
14 26
06' l r
13' 26"
999047-2
.......
KtrunIca11nlelhule
A_ft. 1-la8
.OXXJ:TS 187-1$8
I
AJ
reproduced in the
FIRST FOLIO
Historica
----
The Seeds (
iilppllfd It to't!:,b,al
IhtlfhQngrgwf t~w"'r
<
"",..hom
I"'ar
....-.._..........
paIIoIbtll)ft
&;all
W1lef\.mu\!cI.ln\,..1n.:l'tlil
informational
component-headline, subhead,
deck, text, caption, and subcaption- is given its own unique
style, but all the styles are
selected from related families:
a sans serif and a serif that
have been designed to work
with each other.
EACH TYPE OF
(1\1 II
:!I
-to.
l.-v .... n~
......
BOTH SERIF AND SANS SERIF
. .. t/ItiIlt,"-'
Voice Australia
New
New
Methods
of
Drawing
liilmll
af Klint
Methods
Emma
_.
Kunz
of
Drawing
Agnes
e.-.-.. ~. .
Martin
irNd,.. . .
--_.
_..
-.~
Al..-I}.
-.
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Hilma
af Klint
Emma
Kunz
Agn s
Martin
--_..
-_.
~.T
.1...... 1..0..
-. ..-
-_
..
--
Issues Related
to Style
Hilma
A...-IJ.
YlIwu..--,r-
---~
Agnes
.......
,.--~
.... a.-...........
...
Emma
_-- ----
notUO IiIIIl_
-......
A,,-"
_1 ...... , . . .
_ow
Structure
and Optics
_.w
---'
-_.
New Methods
of Drawing
----'"
.....
-""'-
af Klint
Kunz
Martin
~y...
-~-
Mechanics
of Text
I ........
Texture and
Space
... ....
...............
-.,..""',
......
- -,'-.. ... ;::.::
___
.-, _-
Type as
"""'''''''''''''..-.4_""""'
''
""""
....
_."""""."",,,
Information
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Lines, which share an inherent
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separate clusters of information
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changes clarify the hierarchy
of information vertically, thin
horizontal lines create connections between informational
components from left to right.
ALTHO UGH CO LO R AND
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a a a a a a
a a
a a a a a a a a a
a a a a a a
a a
a a a a a a a a a
a a
a a
a a a a a a
a a
a a a
As the relative color attributes
of type and background change,
so do their apparent spatial
relationships, along with legibility. Contrast in hue and
Structure
and Optics
Issues Related
to Style
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
160
161
in intensity
and value create dynamic-and
somewhat ambiguous-spatial
interaction among the elements,
although the hierarchy is clear.
DRAMATIC CHANGES
United States
changes
created by the colored type
forms-blues and violets receding,
reds and yellows advancing-is
further complicated and enriched
by the use of transparency.
THE COMPLEX SPATIAL
It
()
and saturation
add to the rhythmic typographic
color of this page spread.
CHANGES IN VALUE
LSD Spain
Structure
and Optics
Issues Related
to Style
INTENSE RED CALLOUTS high-
Mechanics
of Text
Texture and
Space
Type as
Information
How Color
Changes Type
c-oJ.i~!11 I "rngrnl1l
162
163
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4
This composition of numbers
demonstrates the effect of
chromatic color on hierarchy
as simply as possible, showing
the layout in the same set of
colors, but with the colors distributed differently among the
numbers each time. The base
composition presents the
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
164
165
Chapter 4
- J -
ASY
------ .....
..._-....
-----_ .. _---....
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.. _
_
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~=-
=~
"-'=-
CRYSTAL-CLEAR PHOTOGRAPHY
Media and
Methods
Presentation
Options
Content
and Concept
166
167
between
abstract gestural mark and figural
representation lends humanity
and depth to the illustration.
A LIVELY DIALOGUE
of
an eye approaches the iconic
A STYLIZED TRANSLATION
I , , , , I , , , I , , ,
TenDoTen Japan
representational
forms exaggerate the abstract
qualities of shape and space;
with less naturalistic detail for
the viewer to consider, the interplay of diagonals, mass, and
contour dominate the image.
in this
book spread are grounded by
the concrete quality of the letterforms, whose style begins to
skew the reading of the abstraction toward an environment
that might be urban and gritty
in character.
, -
"
I
I,
I
highly mediated
forms of image, drawing on
common understanding and
cultural contexts that elevate
them beyond mere representation. Consider these two sets of
symbols, used as signage to
indicate which restroom to use.
SYMBOLS ARE
I
I
,
I
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
168
169
B
THE QUESTION OF MEDIATION
Z1
!,
,i,
,.z.
:1
::
' C "-6
"
Media and
Methods
21
"
""
21
I:
Presentation
Options
"
Content
and Concept
s--:
170
,
I
::::=:
171
CAREFUL POSITIONING of
geometric elements and letter-
AN ICON OF A HAND
POWERED DOWN?
_.---IIII....
o..tIr..,..,_ ...... _ .. _ _
......... Io_........__ ... rw.
... _-....t.trwy.,..t................. _ _ _ ....
~,...
SCLECI1O'Il.
complex,
visual signs with several layers
of meaning; these are called
supersigns. The elegant Wand M
lockup, while still clearly letters,
has also formed an iconic representation of wires. In turn, this
representation takes on the quality of a symbol when qualified by
the client's descriptive title.
LSD Spoin
Wasseem Mohanna
IT Consultant
....
....
11
....
........
....
....
the house
using simple lines becomes
symbolic by transforming the
lines into circuits.
THE DRAWING OF
RESIDEHTIRL WIRIHG
5 PEe I A LIS T 5
INC.
of linear,
drawn imagery corresponds
closely to the linear quality of
typography, especially in this
case where the type has been
outlined as well.
..
...
u
Content
and Concept
173
doesn't
limit the designer in terms of
inventing space and combining
disparate elements that would
otherwise be empirically impossible. In contrast to the Munich
poster (left), the style is painterly
and representational, but the
space is no less abstract.
AGAIN, ILLUSTRATION
Media and
Methods
172
=-
Real, Unreal,
and Otherwise
Presentation
Options
THE NATURAl
ClIOI([
fOR ooD
A TEXTURE OF ILLUSTRATED
insects reveals a numerals in
this panel from a parking garage
signage system. Illustrating
the insects gives the deSigner
control over their visual presentation, rather than relying on
finding or photographing images
of real insects.
Studio Works United States
...
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
174
175
collagelike
mixture of tools used to create
this image-airbrush, pen, digital images, flat ink-contributes
textural contrast and multiple
layers of meaning to consider.
"
quality of
the linear drawing, gradations
in color, and sharply defined
silhouetted hands impart a con temporary, technological feel
to th is poster.
Charcoal
Graphite
Ink
Gouache
Etching
Linocut
Silkscreen
form language
chosen to translate the unicorn's
head not only creates the animal's mane but also emphasizes
the powerful thrust of the horn.
THE GEOMETRIC
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
176
177
G A
translate it: the cat translation must indicate that cats, in general, are soft or furred,
that they are slinky and athletic, and so on.
A translation might be simple and stylized,
or it might be relatively naturalistic, taking
on characteristics such as surface detail or
effects oflight. _ Graphic translation differs from conventional illustration in that
its visual language, or "form language"the marks used to make the drawing-is
of concentric
black arcs used to describe
the butterfly's wings alludes
to their movement.
THE REPETITION
filippa's
GARDEN
BRIGHT IDEA
"_.~-..y...,l_~
.... -....,",",,_-w.r'".''''''f'''''''''''''''''''''''''''''
Nw"""",-~"""
F E
...._~...... .",WCiw.
scucrOCN
Fill PPA'S
GARDEN
ORGANIC
C A FE
Filippa's
GARDEN
Organic
C a Fe
These leaftranslations all
share an overall quality of
recognition-the selection of
details communicates the idea
"leaf" in its simplest, distilled
entirety-but the language
of the translation is changed
in each, affording knowledge
the designer
of this book tremendous variety
in formal qualities that add
contrast and vitality to simple
shapes. Typography, found
engraving, paint marks, transparent overlays, and crinkled
texture all combine to resolve
the movement and spatial interaction of the composition.
COLLAGE OFFERS
of the
word "democracy" hint at the
political dialogue inherent in
that social system. The addition
of the scissors and the work
gloves gives evidence to demo-
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
178
179
the elements
brought together in a collage
is important-and not just what
the images portray but their
medium of creation as well. In
these two posters for a film
festival, the film reel is iconic
and modern and both times
portrayed as an apple whose
symbolic meaning is one of
knowledge. The engraved
images connote a connection
to history, and the photographic
transparencies and gradation
changes suggest the element
of light.
THE MEANING OF
Josse
DePauw
B
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
180
181
Contact
Belgique
jossodc~u
..
f(
pLbo
considered
well-shot and compelling when
it exhibits a strong and varied
tonal range- from deep shadow
A PHOTOGRAPH IS
A Pictorialization
LSD Spain
B Pictorialization
lelena Drobac Serbia
C Illustrative pictorialization
Sagmeister United States
D Ornamentation
Finest Magma Germany
I )or'
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
Form Alteration Changing the structural characteristics of type elements to communicate a non-literal
idea is another strategy. Distorting letter shapes or
proportions in an adjective, for example, can change
the quality of its description. Such alteration may have
a syntactic quality as well; setting the word "exaggerated" with distorted, oversized Gs exploits their sound
and the word's meaning.
182
183
TfA~M M6)NE
Pictorial Inclusion Illustrative elements brought into
the type forms so that they interact with its strokes or
counterforms are said to be included. The type retains
its essential form, but the pictorial matter is integrated
by reversing out of the type or by replacing the counterforms within or between the letters.
SPARRf"W
PRODUCTIONS
'J1oned] S-
p e.rf9tt
I 1 .11111.
LUCI
10
PARKS OF
E!W IJR
HARBOR
co
SE
ED
Syntactic Deconstruction Changing the visual relationships between the parts of a word or a phrase is a
deconstruction-the inherent structure of the word is
called out or changed by being deformed-and the fact
that it is related to the nature of meaning makes it a
syntactic deconstruction. The cadence of the spoken
word, the word's syllables, the prefix, the suffix, and
individual letters are all sources for deconstruction .
E Form alteration
Shinnoske, Inc. Japan
K Form alteration
Mixer Switzerland
G Form deconstruction
Leonardo Sonnoli Italy
H Form substitu t ion
Raidy Printing Group Lebanon
I Pictori al inclusions with
form substitu t io n
e+G Partners United States
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
184
185
Color Relationships
Directional Movement
Value Distribution
DESIGN ELEMENTS
Mixing Image Styles As with all compositional strategies, creating contrast among
visual elements is key to surprising,
refreshing, and enlivening layouts-and
this is no less true for imagery. Aside from
the big-picture contrasts afforded by
changing sizes, shapes, color, and spatial
arrangement, combining different modes
of image offers an important and highly
effective method for introducing contrast.
Very textural, linear illustration, for
instance, will contrast richly with photography-which tends to be continuous in
tone-as well as with flat, solid graphic
elements. _ It's important that, while the
different styles being combined contrast
111
III
'I
III
..
. _. .......,-
III ...
.. .. . ...
.1 I'
- - - - ---<......,.. _ ..
t.
t i ll'
. ..... , ....... .. ....... ... .,. ....."" ........... ....... .'It . ....,..~ .. .,. ,...... ~---- . ------- .-----"-.---- - .......---~
I I
.'
Real, Unreal,
and Otherwise
.iIIllnHil+~l~,"""'"
- ...............-----------
Media and
Methods
Presentation
Options
Content
and Concept
0 .. . - _.0. -
186
187
.. .......
r".,., ""
....
~_
; "'"' ",wr ,
.........
...... _ _ ......
".rl;l
II'
nun..1tW ...........
eco e St
present
the background image in illustrative form stems from the
need to solve two problems.
First, the deSigner wanted to
avoid visual conflict between
two photographs; the flatness
of the illustration style visually
separates it from the photograph and causes it to recede
into the background. Second,
the illustration enhances the
temporal metaphor created by
the two images-one shoWing
a historical stage in cultural
development, the other showing a developmental stage
in education.
THE DECISION TO
c
u
Mixer Switzerland
_
_
-
---......
........
......_-........
....- .........-.. .........
-~
the indistinct
reflection of the figure-and
selectively cropping most of the
solid figure's back-the deSigner
intensifies the mystery surrounding who will be the next
famous designer.
BY FOCUSING ON
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
188
189
of hanging an
award medal around the neck
of the bottle dramatizes the
quality of the wine and personifies the bottle.
THE ARTIFICE
Voice Australia
\\ III.
fl
pr. ~
111111
alll
r at
~~
all
d"t 71/.
,h.
fl
1111 1111111<'\
111.1
11 '11 ( '
DESIGN BLBMBNTS
/
In addition to whatever semantic
content an image offers, viewers
will project meaning on the image
themselves, based on personal,
as well as cultural, experience.
In the current American cultural
context, viewers are likely to
project meaning related to "illegal drug use," even though the
image doesn't offer any explicit
reason for doing so.
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
190
191
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
192
193
----,_.
-- .....'
-.-
-_.--
..
---_.
---_.
.. -lCOKUPAtI)
-..---_.
DISCOVER
-- ,...,......................................
.....
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--...-- -- -
-.-r_fJl-.".___ ___
~----.--
NOIMIAY.
-_
_-
...
--:.-~
......
TWO IMAGES OF the same
211
rfd
Dean, Rebecca F.
Library Science Consultant
beccadean@riseup.net
347 834-6740
of this card
is a metaphor for the client's
area of practice .
THE TYPOGRAPHY
Real, Unreal,
and Otherwise
Media and
Methods
Presentation
Options
Content
and Concept
, EN
194
19S
lipsticks into
bullets creates a metaphorical
dialogue about the nature of
gender relations and aggression.
TRANSFORMING
L--
of the
cigarette creates a focus of
attention, letterboxing the
action in this sequence of
frames from a public service
commerciaL It also confines
and traps the people, and
then metaphorically burns
them to ash.
THE GRAPHIC SHAPE
2Fresh Turkey
IN THIS CONCEPTUAL
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#1P
PUTTI G
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
196
197
Chapter 5
Begin
with the
end
in mind.
Lana Rigsby
Principal, Rigsby Design
DESIGN ELEMENTS
M LAN
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
branded
literature system consistently
reinforces a language of movement
and shape while maintaining
contrast and flexibility: the angled
die-cuts of brochure pages and
folder covers; the slanted alignment of text columns; the use of
large-scale numerals and titling
in varnish; the selection of type
styles; and the austere color
palette of black, silver, magenta,
and orange.
EVERY ASPECT OF THIS
198
199
consider the big picture of a design solutionthe concept and overall layout-in light of
its internal components to ensure all of its
aspects are interrelated in supporting that
concept. At each stage of development,
evaluate each aspect in combination.
Phys
iDatioD
sitional Strategies
ce Sele tiOD
oDteDt
SelectioDO
orlDs
Visual Logic
Structuring
the Page
Intuitive
Arrangement
01
Integrating
Type and Image
Chronologically Content ordered as part of a process, or in terms of historical context
Layout Systems
200
201
Strategies for organizing content involve sorting the material into manageable parts that
are related to each other: by
kind; by part to whole; by frequency; by complexity; chronologically; and by relevance.
two-column
grid, these sample pages from
a catalog presenting Dutch playwrights organize the content
into sections whose internal
structure repeats. The introduction and index of writers follow a
similar text-based scheme, with
a bold heading used to introduce each section. Within each
given writer's section, the bold
headline strategy is maintained,
and the section is broken down
into parts: an image spread of
the writer; a biography spread;
and then consecutive spreads as
needed for a sample of that
writerJ s work.
STRUCTURED ON A
Introduction
L'index
...._--------
---
Esther
Gerritsen
Esther
Gerritsen
- - -------
Une piece
gentille sur
des gens
sympathiques
-------
-------
LOGO
ABOUT
CONTACT
LOGO
Palazzo Giglio
ABOUT
LOCATION
RESERVATIONS
CONTACT
- --
-=...~-~.
.
---
.~~-~
--
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Depending on the complexity of the publication, a designer might find that multiple
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210
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known, can be used to determine the proportions of columns and modules. The
result of both approaches is that the structure of the page develops naturally from
the needs of the content, presenting an
overall organic, unified sense of space.
Grid by Image A grid might be defined
by image content through comparison of
its proportions. Beginning with a universal
height or depth for the images, and a
consistent alignment among them, will
allow the designer to assess how varied
they are in format-squares, verticals, and
horizontals. The designer must then decide
how the images are to be displayed in terms
of their size relationship to each other: will
the images be shown in sizes that are relative to each other, or will they be allowed to
appear at any size? If all the images hang
from a particular flowline, their depth
varying, the designer will need to address
the images with both the shortest and
deepest depths to determine what is possible for text or other elements below these
variations. _ From these major divisions
in space and the logic that the designer
uses to govern them, a series of intervals
might be structured for the images and for
text areas surrounding them. It is also possible to structure the grid based on how
images will be sized in succession. Perhaps
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212
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might approach the grid from the perspective of the text shape and volume. The
sheer amount of text that the publication
must accommodate is an important consideration; if each page spread must carry
a particular word count to fit a prescribed
number of pages, the designer will have
some sense of how many lines of type
must appear on each page. This variable
might eventually affect the column width
or depth, but the optimal setting is a good
starting point. Achieving an optimal setting for text at a given size and in a given
face will indicate a width for columns,
and, from there, the designer can explore
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selected from
several related brochures, use
a relatively tight column structure as a means of radically
altering margin, image, and text
proportions from page to page.
The greater number of columns
means that simple blocks of
content can shift around dramatically, but the proportions of
the negative spaces and content
objects remain unified in feeling.
THESE PAGES,
of
spatial breaks from left to right
across this page spread with the
grid diagram; although the
majority of typographic and
image content responds to the
column structure, several items
noticeably shift off the structure
to introduce visual surprise and
focus attention.
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Cobra Norway
Visual Logic
Structuring
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Intuitive
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Integrating
Type and Image
Layout Systems
218
219
from a
theatrical season brochure
respond to a 3 x 3 module structure as a base-seen in the
opening contents spread-but
the module alignments appear
to shift, forcing the type into
new alignments. This approach
is called a deconstruction;
it takes a structure and then
deforms it.
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columns)
changing column widths, and
column rotation create movement and geometric spaces
reminiscent of the design work
and historical context of the
poster's subject without copying his style or showing any of
his own projects.
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in this poster.
Integrating
Type and Image
............................
layout Systems
222
223
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Far from being random, this compositional method can be described as purposeful
intuitive placement of material based on
its formal aspects: seeing the inherent
visual relationships and contrasts within
the material and making connections for
the viewer based on those relationships.
Sometimes designers will use this method
as a step in the process of building a grid,
but its use as an organizational idea on its
own is just as valid. _ This approach starts
fast and loose: the designer works with the
material much like a painter does, making
quick decisions as the material is put
together and the relationships are first
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is needed
to clarify the image that is being
created by the configuration
of justified text blocks in this
foldout brochure .
LITTLE EXPLANATION
-.......
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LSD Spain
..
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c:::
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
224
225
these seasonal
calendar panels expresses the
feeling and energy of each season through abstract images.
The typography responds not
just formally but conceptually,
alluding in different instances to
falling rain, leaves, and snow.
THE DESIGNER OF
EarSaylW.W. Norton
United States
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
226
\.:J GrcUlcr
'on ulting
OutJIMfIMN.(U(
....
227
.........
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-~'"
THE IMAGE OF
of
changing typefaces and sizes
echoes the graffiti on the wall
in the photograph.
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
typographic
texture in the background- and
its color- to correspond formally
with the chain in the silhouetted
image but uses the violet type
to formally oppose the image.
This violet type, however, shares
a formal quality-contrast in
stroke weights- with the light,
textural script.
THE DESIGNER USES
228
229
-_..
Even if the type retains its natural architecture, it may still react to the compositiona I architecture within the image. All
three elements-image, format, and typeappear to share the same physical space.
Formal Opposition Relating typographic
elements to images by contrasting their
visual characteristics is also a viable way
of integrating them. Although seemingly
counterintuitive, creating formal opposition between the two kinds of material
actually can help clarify their individual
characteristics. Contrast is one of the most
powerful qualities that a designer can use
to integrate material-by their very difference, two opposing visual elements become
more clearly identified and understood .
ore
Augu rinurn
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Lorem ipsum
In herzlicher
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Loremipsum
In these three examples, the visual relationship
between type and image is one of opposition, but the
choice of type style and treatment in each example
shares some formal relationship with the image.
A soft-focus photograph with muted detail and light
tonal values overall is contrasted by a bold-weight
sans serif typeface, but the subdued color of the type
shares a tonal and color relationship with the image.
1:
A study of letterform combinations reveals both congruence and opposition. The inherent differences
between the 0 and M are made more pronounced by
changing the posture, weights, styles, and positions of
the letters, yet the combinations in which they share
one- or two- aspects seem richer. The inherent similarities of the A and Kallow for more dramatic opposition
because their structural similarity is so powerfully con gruent.
and any correspondence between its compositional elements and those in the
image. The type might align with the top
edge of the image rectangle, or it might
rest elsewhere, perhaps in line with a division between light and dark inside the rectangle. Type that crosses over an image
and into the format space becomes both
part of the image in the rectangle and part
of the elements on the page. Its location in
space becomes ambiguous.
IIi
Visual Logic
THE VERTICAL, OVERLAPPED
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
..................... , ..... .
230
231
ART
and
horizontal positioning of type
elements helps integrate the
linear movement of both type
and image, as well as permits
the currency's denomination
to be read when the bill is held
at either angle.
COMBINING VERTICAL
WER GRENZEN KE
SCHAFFT WElTE
I'
I'
II
II
II
j;
A modular grid-eve n a very
simple one, as shown herewill provid e an almost endless
number of possibiliti es for
arranging images. Clearly, less
can do more .
.....- - -i+--
Visual Logic
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- _____. - ----H.---t--Structuring
the Page
~-"'H ------
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
o
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232
233
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emotion
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_ _ I_at an _ _
structure
this layout defines the scale and
orientation of the images and
affects their presence related
to type. Asmaller image relates
visually to the module, and
hence to the overall page structure; the larger the image
becomes, the more its internal
visual qualities dominate, creating contrast with the structure
and surrounding type.
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....___.
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---.~
GEOMETRIC SILHOUETTES-
use of
white space, and consistent
application of colors and grid
structure mark these branded
collateral materials as coming
from the same source. The
neutrality of the structure is
flexible and will be useful in
streamlining production for
complex publications, as
well as allow deSigners to
accommodate new kinds of
materials without having to
reinvent the wheel.
TYPOGRAPHIC STYLE,
Grapefruit Romania
--:--~
..
-- --
......
-~
Visual Logic
Structuring
the Page
Intuitive
Arrangement
the client's
logotype at tremendous scale in
a retail environment creates a
simple system that can easily
adapt to changing store layouts.
USING PORTIONS OF
Integrating
Type and Image
Layout Systems
236
237
I!:JI!:J
~hoicc
homccholcc
al
homechoIcc
EJ
netwo
network
""'fhoicc
homecholcc
most
often is associated with branding
and corporate identity-focused
communications, the hallmark
of which is consistency. In the
case of this logo, the form
remains consistent, but a variable color scheme allows for
flexibility in relating the logo
to accompanying imagery,
reinforcing itself yet refreshing
itself every time it is seen.
SYSTEMATIC THINKING
---
----
of a grid
structure in this website allows
different combinations of
content-and content of varying
widths and complexity-to be
updated quickly and without
sacrificing the overall unity of
the pages.
SYSTEMATIC USE
and
a specific color palette create
unity among a series of print
collateral applications, but each
image is varied with a different
illustrative detail.
SIMILAR PHOTOGRAPHS
--
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Integrating
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Layout Systems
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238
239
is
employed in this series of business cards. The size and position of elements, both on the
front and the back of each card,
remain the same, but the color
palette changes.
A SIMILAR STRATEGY
Fishten Canada
er
HOW
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depth, and, if so, what creates it-transparency, scale change, overlap?" "Do I
sense movement, and, if so, is it lateral,
vertical, frenzied, calm and repeated?"
Once the designer has answers to these
questions, focusing on one or two of the
variables-scale change and color family,
for example, or texture, organic shapes,
and overlapping-might lead to establishing rules for how these variables might
be altered without changing their fundamental character.
Lakeside
_..a'''oL-.cy
Lakeside
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Lakeside
Lakeside
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Lakeside
Lakeside
Visual Logic
Structuring
the Page
- .....
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Lakeside
.....
fI[It:/o(I"'~_
Lakeside
KtUof
throughout this identity program is rigidly styled on a consistent grid, the designer has
introduced flexibility in form at
every level: variations in the
visual shape of the logotype
lockup; a series of abstract linear illustrations that can be
used in a number of ways; and a
strong color palette of analogous hues with varying levels of
intensity.
t.~
Lakeside
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lakeside
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Lakeside
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Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
240
241
Pf
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h
Vision
Quadratm Ie.
Koopenotlon
United States
Funftes Element
Iguro
Funftes Element
Funftes Element
Rlesennd &rHlghtech
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Text Versus Image The relation ship between the amount of text
and the amount of image material
changes, either progressively or in
a distinct rhythm.
Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
242
243
Structural Variation
Regardless of the content's
treatment in terms of color,
imagery, or typography, the
structure of a publication
can be articulated in a variety
of ways.
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employs a
clear, simple strategy to create
rhythmic pacing from spread
to spread: changes in the sizes,
proportions, and placement
of photographs. Using tinted
blocks to call out specific portions of text also introduces
constant change in the presence
of the type.
THIS NEWSLETTER
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Visual Logic
Structuring
the Page
Intuitive
Arrangement
Integrating
Type and Image
Layout Systems
244
245
FULL-BLEED PHOTOGRAPHS of
a gallery environment lead
viewers experientially thorugh
an exhibit, moving them from
room to room and then close-up
to artworks on individual walls.
Content travelling horizontally
through a spatial zone at the
bottoms of the pages provides
commentary on the exhibit and
organizational strategies used
by the artist in his work.
Coma Netherlands
appropriate. Designers must always investigate this aspect of a project-the fundamental relationship of all the content's
parts-on a case by case basis, and in association with their conceptual goals and
their client's communication goals.
1
:'=:==
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each chapter
of th is book on abnormal psychology progress from arrangements of image and type that
communicate the quality of a
given disorder to a state of gridbased resolution that describes
various treatment options and
successful case studies.
THE SPREADS IN
e
-
--=.--
Appendix B
248
249
Don't
ct
the 0 r---...~
deter how
things look.
4*r
Dcept.
Br
250
251
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lie ti n:
tudcnu
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familia
K- IlT~
. h"lan
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1100. .,
c..1
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-.
Bre
When the message warrants it, use form
willy-nilly, without regard for its meaning.
This, in itself, might be interpreted as
a message and-on rare occasions-that
message is appropriate as part of a design
solution. A project concerning Baroque
architecture or Victorian aesthetics, for
example, might very well benefit from
extremely decorative treatments that would
otherwise constitute a crime against nature.
DESIGN ELEMENTS
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253
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three.
An extremely complex text, with a great
many parts, will be clarified by strong,
varied changes in type style. Sometimes
you'll need many different typefaces working together to create a certain kind of
texture, a busy-ness, that conveys something really important about the client,
the subject of the project, or the project's
relationship to some other context.
Thinking outside the type-box can be
difficult, especially if you're comfortable
with a select set of typefaces: so take a
deep breath, close your eyes, and click the
font list at random to see what happens.
You might be surprised.
~--~-.....-.......
panch!
254
255
Pick
on
glt
Get real.
Get tested.
Get your results.
l\ nyac
-----
B Maggie
DESIGN ELEMENTS
I.
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PAT
AI
256
257
Bre
If yoa can
less,
it.
IVe
Ism
It
create it,
don'tjast
fin it apt
Speaking of overdoing it: This book
appropriately and excitingly delivers its content, an exploration and
showcase of a design trend called
Maximalism, in which the more
ornament, texture, complexity, and
DESIGN ELEMENTS
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ELEVATION
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258
259
friendly.
10' N 2457' E
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DESIGN ELEMENTS
260
261
Bre
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Dynamic, ever-changing, rhythmic movement is highly engaging and most often
desirable as a way of attracting and holding
attention. Still, a pronounced lack of
movement or tension creates an altogether
different feeling in a project and, when it
makes sense for the message, is quite
appropriate. Sometimes, constant visual
activity and bouncing movement will
adversely distract viewers from focusing
on the content. Consistency in rhythm and
arrangement is a message that can also
communicate.
IANNI KURHI
happilv inVItes you to preview
the spnng and summer 2006 colleCllon
at the fashion coterie
from tuesday. sept 20th
to thursday. sept nnd 1005.
pier 94. booth 4105.
new york city
w...a
...
1ItH1*1I'
....... I.M.-.s
W:ttl 1J"J"tII.t
_r"
DESIGN ELEMENTS
International Croatia
BE-Types Denmark
c 2 Fresh Turkey
..
Distribute
262
263
Br
sand
the rising sun.
glt
purpose, or don't
do it at all.
DESIGN ELEMENTS
It
eyes =design
is visaal.
Monitor
Incorporated
-
264
265
MedlsJlateiatjaa.services
::::.
.:
-=:
--
A Mixer Switzer/and
B Coma
Nether/ands
DESIGN ELEMENTS
Br
B
266
267
..
--
WhyNot Associates
United Kingdom
It
B
As with all the rules, proceed with caution
when breaking this one. The primary
danger here is causing viewers to disengage, because it is dynamic visual
activity-stimulating the eyes and brain
to move about-that generally holds
their attention. Static arrangements of
material, however, can be very focused
and restful, an alternative to dramatic
movement and deep spatial illusion, and
in that sense can be useful at times. As
part of a pacing scheme that alternates
with clearly dynamic movement, static
arrangements can provide areas of rest,
visual punctuation to aggressive presentation, and contrasting moments of
focus and introspection.
equals dull.
DESIGN ELEMENTS
Look to
history,
t
A
There Australia
HEARTH
FIRED LA
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the
B
DESIGN ELEMENTS
2 Fresh
Maslak, Beybi Giz Plaza, K'26
34396,lstanbullTurkey
contact@2fresh.com
Cyr Studio
P.O. Box 795
Stroudsburg, PA 18360 USA
www.cyrstudio.com
184,195,262
013,051,069,129,203,226
025,169,172
Romania
www.grapefruit.ro
096
Grapefruit
Str. Ipsilanti 45
Intrare Splai, laj 700029,
AlO Design
170 Helena St., 4th Floor
Sao Paolo, 04552-050 SP
Brazil
www.alO.com.br
015,106,236
Troy D. Abel
clo The Art Institute,
Orange County
3601 West Sunflower Avenue
Santa Ana, CA 92704 USA
da301@stu.aii.edu
167
Carolyn Calles
Myung Ha Chang
clo School of Visual Arts
Adams Morioka
8484 Wilshire Blvd. Suite 600
Beverly Hills, CA 90211 USA
www.adamsmorioka.com
006,020,063,072,101,
105,131,135,179
Ames Bros.
2118 8th Ave.
Seattle, WA 98199 USA
www.amesbros.com
026,085,173,174,253,
266,268
And Partners
159 West 27th St. 7th Floor
New York, NY 10001 USA
www.andpartnersny.com
Tammy Chang
2225 Ridgefield Green Way
Richmond, VA 23233 USA
www.design.cmu.edu
151
Cheng Design
2433 East Aloha st.
Seattle, WA 98112 USA
www.cheng-design.com
070,136
CHK Design
8 Flitcroft Street
London WC2H 8DL
United Kingdom
026,036,066,110,127,169
270
271
Dochdesign
Kidlerstrasse 4
81371 Munich, Germany
www.dochdesign.de
Maciej Hajnrich
Browarna 23/30
Bielsko-Biala 43-400 Poland
www.nietylko.net
Lexicon Graphix
304 South Franklin St.
Suite 304
Syracuse, NY 13202 USA
www.lexicongraphix.com
174
011,256
Jelena Drobac
9 Siva stena St.
11000 Belgrade, Serbia
www.d-ideashop.com
127,156
Drotz Design
1613 12th Ave. SW
Puyallup, WA 98371 USA
www.drotzdesign.com
079,099,172
050,117,206,221,262
University
5000 Forbes Ave.
Pittsburgh, PA 15213 USA
www.cmu.edu
168
www.cobra. no
019,034,100,146,155,
193,217
Coma
Saxenburgerstraat 21-1
1054 KN Amsterdam
The Netherlands
www.comalive.com
027,195,208,244,263,265
Earsay
P.O. Box 4338
Sunnyside, NY 11104 USA
www.earsay.org
139,148,153,225
HaeJin Lee
32-32 36th St., 3rd Floo r
Astoria, NY m06 USA
chocoicecream@hotmail.com
224, 245
Vicki Li
clo Lisa Fontaine
036
Diana Hurd
18 Northwood Dr.
Timonium, MD 21093 USA
dianaceleste14@gmail.com
093
E-Types
Vesterbrogade 80B, 1
1620 Copenhagen V
Denmark
19awa Design
3726 Clark Ave.
Long Beach, CA 90808 USA
www.igawadesign.com
Marcia Lisanto
clo Laguna College of
Art +Design
2222 Laguna Canyon Road
Laguna Beach, CA 92651 USA
www.lagunacollege.edu
231
Loewy
147a Grosvenor Rd.
London, SWIV 3JY UK
www. loewygro up.com
United Kingdom
017,059,160,191,213,
237, 239,257,258
129
205,227
Cobra
Karenslyst Aile gB
NO-0278 Oslo, No rway
Maris Bellack
172 South 4th St. #3
Brooklyn, NY 11211 USA
266
Christine Chuo
151
014,075,162
71,122,134
Art:Tecaji
Miklosiceva 38
1000 Ljubljana, Slovenia
www.art-tecaji.com
BBK Studio
648 Monroe Ave. NW Suite 212
Grand Rapids, MI 49503 USA
www.bbkstudio.com
Sergio Gutierrez
Paved ilia, 10, Esc. 2, Apt. 6-1
Madrid, Spain E28943
beezual@hotmail.com
Barbara Ferguson
10211 Swanton Dr.
Santee, CA 92071 USA
zoograph ics@earthlink.net
011,076,121
Apeloig Design
41 Rue La Fayette
75009 Paris, France
www.apeloig.com
John Jensen
2925 Grand Ave. Apt. 10
Des Moines, IA 50312 USA
john@onpurpos.com
039
Finest Magma
Suedenstrasse 52
76135 Karlsruhe, Germany
www.finestmagma.com
043,143,172,182,193,
228,230,231
JRoss Design
90 South Main st.
Alfred, NY 14802 USA
www.jrossdesign.com
033,048,102,106,158
LSD
San Andres 36, 2 P 6
28004 Madrid, Spain
www.lsdspace.com
007,016,037,057,059,
075,076,087,098,148,
161,171,182,202,224
Fishten
2203 32nd Ave. SW
Calgary, Alberta T2T,X2
Canada
www.fishten.com
Hyosook Kang
School of Visual Arts
23 Lexington Ave. #1533
New York, NY 10010-3748 USA
Yellowapple79@hotmail.com
238
220
Form
47 Tabernacle St.
London EC2A 4AA UK
www.form.uk.com
Cally Keo
clo The Art Institute,
Orange County
3601 West Sunflower Avenue
Santa Ana, CA 92704 USA
053,060,078,082,127
Metropolitan Group
519 SWThird Ave., Suite 700
Portland, OR 97204 USA
www.metgroup.com
079,176,255
Mixer
Liiwenplatz 5
CH-6004 Lucerne Switzerland
www.mixer.ch
Thomas Csano
222
183,187,264
3655 St. Laurent
Frost Design, Sydney
Montreal, Quebec H2X 2V6
Levell, 15 Foster St.
Sohyun Kim
Monigle Associates
Canada
Surry Hills, NSW 2010
2516 Aspen Rd. #4
150 Adams st.
www.thomascsano.comAustraliaAmes.IA50010USADenver.CO 80206 USA
~:~a::r~~t~;~~:!~O~~~
~:~'1~~ ~~:'~9~~2,
www. marismaris.com
194,238
;~~~;o;,t~;~~gl~ ~
~iastateedu
;:~;60;i~~5com
v~a ~_.
Muller
Unit 307, Studio 28
28 Lawrence Rd.
London, N154EG UK
www.hellomuller.com
007
Munda Graphics
111113 Alison Rd.
Randwick, NSW 2031 Australia
www.geocities.com/
munda_gallery
042, 167, 259
Mutabor Design GmbH
Grosse Elbstrasse 145B
D-22767 Hamburg, Germany
www.mutabor.com
007,025,061,069
MV Design
10 Thunder Run 6-D
Irvine, CA 92614 USA
atiragram3@hotmail.com
183,269
Benjamin Myers
c/o Laguna College of
Art +Design
2222 Lagu na Canyon Road
Laguna Beach, CA 92651 USA
www.lagunacollege.edu
179
Niklaus Troxler Design
Bahnhofstrasse 22
Willisau, CH-6130 Switzerland
www.troxlerart.ch
043,218,252
Not From Here Inc.
101 Summit St. #3 Third Floor
Brooklyn, NY 11241 USA
www.norfromhere.com
048,091,258
Marek Okon
3836 Ponderosa Ln.
Mississauga, Ontario L5N
6W3 Canada
www.marekokon.com
Sunyoung Park
2505Jensen Ave., #413
Ames, IA 50010 USA
su nyou ng@iastate.edu
038
Sang-Duck Seo
4815 Todd Dr., Apt #74
Ames, IA 50014 USA
sdseo@iastate.edu
176
Michelle Pinkston
2627 Kent #6
Ames, IA 50010 USA
pi nk12@iastate.edu
129
Shinnoske, Inc_
2-1-8060-2 Tsuriganecho,
Chuoku
Osaka City, Osaka 540-0035
Japan
www.shinn.co.jp
090,183
028,055,098,112,235
Research Studios
94 Islington High St.
London, N,8EG UK
www.researchstudios.com
036,078,089,096,147,152,
159,163,170188,219,237
Robert Rytter ~ Associates
14919 Falls Rd.
Butler, MD 21023 USA
www. rytter.com
131,205
Pamela Rouzer
c/o Laguna College of
Art + Design
2222 Lagu na Canyon Road
Laguna Beach, CA 92651 USA
pamelarouzer@
lagunacollege.edu
056
028,151
Martin Oostra
Danker Curtivsstraat 25D
Amsterdam 7057JM,
Netherlands
studio@oostra.org
086,133,181,201,234,243
Andreas Ortag
Parkstrasse 5
A-3822 KarlsteinlThaya
Austria
www.ortag.at
024,040,137,167,178,227
Paone Design Associates
242 South Twentieth St.
Philadelphia, PA 19103 USA
www.paonedesign.com
022,083,092,118,132,
160,183,193,227
Roycroft Design
7 Faneuil Hall Marketplace
Boston, MA 02109 USA
www.roycroftdesign.com
060
Rule29 Creative
303 W. State St.
Geneva, IL 60134 USA
Christopher Short
P.O. Box 795
Stroudsburg, PA 18360 USA
www.chrisshort.com
169
Travis Simon
120 South 2nd St.
Brooklyn, NY 11211 USA
nvudesign@gmail.com
221
Matt Smith
c/o Laguna College of
Art +Design
2222 Laguna Canyon Road
Laguna Beach, CA 92651 USA
www.lagunacollege.edu
255
Leonardo Son noli
Via G. Rossini 16
Trieste 34132 Italy
leonardoson noli@libero.it
047,062,105,119,161,
183,220,225,263
Spin
12 Canterbury Court,
Kennington Park
1-3 Brixton Rd.
London SW9 6DE UK
www.spin.co.uk
254
Stereotype Design
39 Jane St. 4A
New York, NY 10014 USA
www.stereotype-design.com
027,067,091,154,183,268
Stressdesign
1003 West Fayette Street
Floor One
Syracuse, NY 13204 USA
www.stressdesign.com
023,056,154
056,105,166,182,261
STIM
Visual Communication
436 West 22nd Street, No. 4C
New York, NY 10011 USA
tim@visual-stim.com
011,065,109,157,187,
256,264
Studio Blue
800 W. Huron St., Suite 3N
Chicago, IL 60622 USA
www.studioblue.us
103,110,209
Sagmeister Inc_
222 West 14th St.
New York, NY 10011 USA
www.sagmeister.com
Studio Works
838 Broadway
New York, NY 10003 USA
www.studio-works.com
033,058,173,233
SubCommunication
24 Av. Mont-Royal West #1003
Montreal, Quebec H2T252
Canada
www.subcommunication.com
094,222,266
Michael Sui
3808 John Carroll Drive
Olney, MD 20832 USA
msuimsui@gmail.com
151
Voice
217 Gilbert St.
Adelaide, South Australia
5000 Australia
www.voicedesign.net
013,044,061,072,099,
125,141,147,157,189
Wallace Church, Inc_
330 East 48th St.
New York, NY 10017 USA
www.wallacechurch.com
173,269
Ko-Sing Wang
c/o The Art Institute,
Orange County
3601 West Sunflower Avenue
Santa Ana, CA 92704 USA
223
Why Not Associates
22C Shepherdess Walk
London N1 7LB UK
www.whynotassociates.com
267
www. rule29.com
166
Studio International
Buconjiceva 43
10 000 Zagreb Croatia
www.studio-international.com
029,051,055,078,106,
170,178,194,262
Swim Design
8040 Georgia Ave., Suite 100
Silverspring, MD 20910 USA
www.5wimdesign.com
097,123,250
Templin Brink Design
720 Tehama st.
San Francisco, CA 94'30 USA
www.tbd-sf.com
012, 095,170,177,241
TenDoTen
Vira Biance #504 2-33-12
Jingumae
Shibuya-ku Tokyo 150-0001
Japan
www.tententen.net
167
There
Levell, 16 Foster St.
Surry Hills
Sydney NSW 2010 Australia
www.there.com.au
060,269
Think Studio, NYC
234 West 16th St.
New York, NY 10011 USA
www.thinkstudionyc.com
066,162
UNA (Amsterdam)
Designers
Kurte Papavarweg 7A
Amsterdam, the Netherlands
una@unadesigners.nl
042,108,144
Virginia Commonwealth
University (VCU) Qatar
P.O. Box 8095
Doha, Qatar
www.qatar.vcu.edu
033,111,162,167,226
DESIGN ELEMENTS
Brett Yasko
2901 Smallman St., #6D
Pittsburgh, PA 15201 USA
www.brettyasko.com
035,039,109,134,192
Acknowledgments